[PDF AVAILABLE FOR DOWNLOAD] An extensive monograph exploring what experimental music can teach us about recognizing and communicating with forms of intelligence other than our own, including examples from several decades of the author's work and with implications for the future of interactive processes and media.
"There are two basic principles of musical structure I rely on. The first is expressed by the force of attraction, (gravity, love, concentration, creation), and the second lies in the idea of repetition, (materialization, duration). My mindfulness of this constitutes the only score. I find I must wait before the beginning of each performance until I am surprised by the first sound I make and the fact that it is made. Then, I feel ready to proceed."
In Avanzini, G., Faienza, C., Lopez, L., Majno, M., and Minciacchi, D. (Eds.). The Neurosciences and music, Volume 999 of the Annals of the New York Academy of Sciences, (New York: NYAS), 263-271. doi: 10.1196/annals.1284.037.
Leonardo Electronic Almanac, 11, 7. (Cambridge, MA: The MIT Press.)
Leonardo Music Journal, 12, 73–78.
Interview by S. Bekwith in York, the founding generation, 1970–2000. (Toronto: Department of Music, Faculty of Fine Arts, York University), 69-78.
In Zorn, J. (Ed.). Arcana: Musicians on Music, (New York: Hips Road and Granary Books), 203-232.
New Music LA. January–February. (Los Angeles: American Composers Forum, Los Angeles Chapter.)
Leonardo Music Journal, 7, 35–39.
Leonardo, 30, 4, 291–297.
Perspectives Of New Music, Volume 34, No. 1, (Winter, 1996), 210–226.
[PDF AVAILABLE FOR DOWNLOAD] In Proceedings, The 71st Annual Meeting, 1995 (Reston, VA: National Association of Schools of Music), 19–31.
In Proceedings Of The 1992 International Computer Music Conference. (San Francisco: International Computer Music Association - ICMA).